Bjørn Hansen, in "Novel 11," lives a quiet life in the provinces, where he is troubled by the lustreless, arbitrary nature of his existence.
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In "Burbank with a Baedeker: Bleistein with a Cigar," he conjured up the primal ooze from which he saw those creatures emerging: A lustreless protrusive eye Stares from the protozoic slime At a perspective of Canaletto.
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From then on, Panama's trajectory in the OTI Festival was lustreless as happened with the most of the Central American countries with the exception of Nicaragua.
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The length of the shell attains 5.5 mm, its diameter 6 mm. The small, somewhat solid shell has a conical shape. It is lustreless, with a false umbilicus. The sculpture of the entire surface is closely finely spirally striate.
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Shape varies from oval to rounded and elongate oval. The shell is close-grained, smooth and usually lustreless with a dull white base colour, over which is evenly distributed freckles and spots of blackish-brown, with underlying markings of dull bluish-grey.
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The height of the shell between 6 mm and 9 mm, its diameter between 8.5 mm and 12 mm. The small, solid, imperforate has a depressed orbicular-conoid shape. It is lustreless. This is a very variable species, and the smallest Diloma occurring in New Zealand.
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The shell grows to a height of 1.8 mm. The thin shell is narrowly umbilicated. It is semitransparent, lustreless, with nearly microscopic spiral stride, which are wanting on the base and replaced by a rugose or fretted appearance. The color of the shell is pale yellowish white, with a faint greenish tinge.
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Both sexes contribute to the nest building, though the male also stands guard while the female is building the nest. The eggs vary in shape, but most often are a rounded oval. They are white and lustreless, and sometimes have a pinkish or brownish tinge. They can be unmarked, or spotted with faint reddish or brownish flecks.
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It is, on average, in diameter and deep. Measuring , the eggs are oval, smooth and lustreless white, with small spots or blotches of red on the larger end. The clutch size is reported to be two or three eggs. While there is no reliable information on incubation and feeding, it is believed that both parents are active in caring for the young.
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Although Guatemala sent some well known names to the OTI Festival, this country had a lustreless trajectory in the festival. The Guatemalan Broadcaster never managed to win the festival. This country placed second in 1974, their debut year, with Tanya Zea. The country managed to reach the top 10 again in 1976 with Hugo Leonel Baccaro and in 1980 with Grupo Madrigal.
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The length of the shell attains 9.5 mm, its diameter 3.5 mm. (Original description) The slender, thin shell is yellowish-white, with a dull surface, except for the glassy and translucent protoconch. It contains 8 whorls. The protoconch is thin, inflated, the (nuclear) first two whorls) polished, smooth, and free from sculpture, passing abruptly into the dull and lustreless surface of the adult shell.
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He vows to do so. Devdas goes back to Calcutta and Parvati is married off to the widower, Bhuvan Choudhuri, who has three children. An elderly gentleman and zamindar of Hatipota he had found his house and home so empty and lustreless after his wife's death, that he decided to marry again. After marrying Parvati, he spent most of his day in Pujas and looking after the zamindari.
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The nest is lined with plant down, feathers, and animal hair, and suspended from the tree or shrub. Clutch size is thought to be two eggs variously described as oval, lengthened, rounded, glossy, lustreless, white, pink, sometimes unmarked or with light brown or purple spots. The incubation period is unknown, and it is thought that only a single brood is raised annually. Both sexes have been recorded performing distraction displays, when nests are approached.
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Both the male and female prepare the hollow for breeding, which involves peeling or scraping off wood shavings from the inside the hollow to prepare bedding for the eggs. Gum leaves are occasionally added as well. The clutch consists of one or two white lustreless rounded oval eggs which may have the occasional lime nodule. The first egg averages around 47 or 48 mm long and 37 mm in diameter (2 × 1.4 in).
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The surface is lustreless, with incrassate growth striae and inconspicuous granulation, under a strong lens visible as spiral rows of shallowly raised, short oblong granules; only in fresh specimens this granulation may be observed on the third and following whorls. Protoconch is pit-reticulate. The shell has 5.7-6 whorls, that are somewhat convex. Suture is impressed, crenulated, at the aperture ascending in front. Aperture is large, ovate, in fresh shells orange inside; margins converging; 1.33 times as long as wide, 0.73 times the total height.
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At the London diamond market, the Nassak Diamond was presented as an approximately diamond of great purity "but of bad form," having a somewhat pear-shape. The diamond further was characterised as a "rudely faceted, lustreless mass." Illustrations in Herbert Tillander's book "Diamond Cuts in Historic Jewelry – 1381 to 1910" show it as being a semi-triangular moghal cut with a plateau top, similar looking to the 115-carat Taj-E-Mah Diamond which resides in the Iranian Crown Jewels. Despite its appearance, the diamond was sold for about 3,000 pounds (equivalent today to £) to Rundell and Bridge, a British jewellery firm based in London.
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Davthvs was "responsible for almost the whole layout, as well as the rather successful idea of printing the LP inside out, so that the lustreless side was turned out". Danielsson, who draws artwork for Watain and other bands himself, was "very pleased in working with such a talented man". The gatefold contains a photography "which is a bit hard to at 1st sight--but when the observer looks at it a bit more he witnesses it's a turned upside down photo of a decayed bird surrounded by flying autumn leaves"; the idea came from Danielsson although dead birds are the responsible artist's trademark. Davthvs found a dead bird and scanned it for the artwork.
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Litvinoff was one of the first to raise publicly the implications of T. S. Eliot's negative references to Jews in a number of his poems, in his own poem "To T. S. Eliot". Litvinoff, an admirer of Eliot, was appalled to find Eliot republishing lines he had written in the 1920s about "money in furs" and the "protozoic slime" of Bleistein's "lustreless, protrusive eye" only a few years after the Holocaust, in his Selected Poems of 1948. When Litvinoff got up to announce the poem at a poetry reading for the Institute of Contemporary Arts in 1951 the event's host, Sir Herbert Read, declared, "Oh Good, Tom's just come in," referring to Eliot. Despite feeling "nervous",Hannah Burman, "Emanuel Litvinoff: Full Interview", London's Voices: Voices Online, Museum of London, conducted on 11 March 1998, accessed 7 July 2008.
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A strong Moon and a strong Lagna-lord are potent protective factors but even a strong Moon cannot escape from the influences exerted by other planets upon the signs and bhava not occupied by the Moon. N.Chidambaram Aiyar, for instance, has given sixteen planetary situations centering on the role of the three strong natural benefics and the strong lord of the lagna, and the Moon, which situations if also simultaneously existing counteract the ill-effect of several Balarishta yogas given in the texts, there will be no early death etc.;. The texts have also described special yogas cancelling Balarishta. For example, if Saturn is in Leo, Jupiter in the 12th (in Virgo) and the navamsa of Aries is devoid of a malefic, one born in Nirmalamsa does not incur Chandra Dosha (blemished Moon to cause Balarishta) Sloka 859 of Chandra Kala Nadi Mahadeva in his Jataka Tattva states that the Moon, weak and lustreless, situated in a sign owned by Venus, causes Balarishta, and the child dies at the age of seven years.
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Melos, long marked as a source of early objects but not systematically excavated until taken in hand by the British School at Athens in 1896, yielded at Phylakope remains of all the Aegean periods, except the Neolithic. A map of Cyprus in the later Bronze Age (such as is given by J. L. Myres and M. O. Richter in Catalogue of the Cyprus Museum) shows more than 25 settlements in and about the Mesaorea district alone, of which one, that at Enkomi, near the site of Salamis, has yielded the richest Aegean treasure in precious metal found outside Mycenae. E. Chantre in 1894 picked up lustreless ware, like that of Hissariik, in central Phtygia and at Pteria, and the English archaeological expeditions, sent subsequently into north-western Anatolia, have never failed to bring back ceramic specimens of Aegean appearance from the valleys of the Rhyndncus, Sangarius and Halys. In Egypt in 1887, Flinders Petrie found painted sherds of Cretan style at Kahun in the Fayum, and farther up the Nile, at Tell el- Amarna, chanced on bits of no fewer than 800 Aegean vases in 1889.
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